【作者】 苏雅；

【导师】 杨玉成；

【作者基本信息】 内蒙古大学 ， 音乐学， 2013， 硕士

【摘要】 本研究将吴云龙及其四胡艺术放置在20世纪以来蒙古族社会文化发展的历史背景当中,通过代表人物的研究来展现20世纪四胡艺人及四胡音乐兴衰沉浮的生动图景,通过人生史与艺术史的描述来展现吴云龙的成长过程,探讨当代专业四胡艺术的建构历程及其与传统之间千丝万缕的联系,进而探讨吴云龙的四胡艺术风格特点,通过个体与群体、个人与社会、传统与现代、民间与专业等一系列二元关系角度,通过个体来看时代,通过个案来看整个蒙古四胡艺术发展,力求启示后人思考。通过阐释民间传统演奏模式——“套路”研究,对四胡传统研究的本质进行梳理和分析,从而在多种元素的互动结构当中,关注个体与传统之间的关系。以局内人的观点去呈现民间传承的合理性及其蕴含的高度艺术智慧,挖掘民间传承潜在的规律模式,努力去揭示和归纳出不同于现代教育传承的“地方性知识”传承体系。更多还原

【Abstract】 By putting Wu Yunlong and his four-string art into the historical background of Mongolia social and cultural transformation since the20th Century, this dissertation’s aim is to:reveal a vivid demonstration of the rise and fall of four-string fiddle artists since that time; to describe the life, especially artistic life of Wu Yunlong; and further, to discuss the artistic features of his art work. By comparing the individual and the community, tradition and current situation, folk style and professional style, the individual provides a perspective of the era and the development of Mongolian four-string art, this would also be an inspiration for the younger generation. By studying the traditional performance "pattern", the paper combs and analyzes the nature of four-string art research. This is an insight of the legit quality of folk heritage and the rich wisdom hidden underneath. By digging the rules and patterns, the heritage system of the "regional knowledge", which is different from modern educational module, will come to surface in s systematical way.更多还原